1.5
Table Of Contents
- Color User Manual
- Contents
- Welcome to Color
- Color Correction Basics
- Color Correction Workflows
- An Overview of the Color Workflow
- Limitations in Color
- Video Finishing Workflows Using Final Cut Pro
- Importing Projects from Other Video Editing Applications
- Digital Cinema Workflows Using Apple ProRes 4444
- Finishing Projects Using RED Media
- Digital Intermediate Workflows Using DPX/Cineon Media
- Using EDLs, Timecode, and Frame Numbers to Conform Projects
- Using the Color Interface
- Importing and Managing Projects and Media
- Creating and Opening Projects
- Saving Projects
- Saving and Opening Archives
- Moving Projects from Final Cut Pro to Color
- Before You Export Your Final Cut Pro Project
- Move Clips That Aren’t Being Composited to Track V1 in the Timeline
- Remove Unnecessary Video Filters
- Organize All Color Corrector 3-Way Filters
- Divide Long Projects into Reels
- Export Self-Contained QuickTime Files for Effects Clips You Need to Color Correct
- Use Uncompressed or Lightly Compressed Still Image Formats
- Make Sure All Freeze Frame Effects Are on Track V1
- Make Sure All Clips Have the Same Frame Rate
- Media Manage Your Project, If Necessary
- Recapture Offline Media at Online Quality, If Necessary
- Check All Transitions and Effects If You Plan to Render 2K or 4K Image Sequences for Film Out
- Using the Send To Color Command in Final Cut Pro
- Importing an XML File into Color
- Before You Export Your Final Cut Pro Project
- Importing EDLs
- EDL Import Settings
- Relinking Media
- Importing Media Directly into the Timeline
- Compatible Media Formats
- Moving Projects from Color to Final Cut Pro
- Exporting EDLs
- Reconforming Projects
- Converting Cineon and DPX Image Sequences to QuickTime
- Importing Color Corrections
- Exporting JPEG Images
- Configuring the Setup Room
- The File Browser
- Using the Shots Browser
- The Grades Bin
- The Project Settings Tab
- The Messages Tab
- The User Preferences Tab
- Monitoring Your Project
- Timeline Playback, Navigation, and Editing
- Basic Timeline Elements
- Customizing the Timeline Interface
- Working with Tracks
- Selecting the Current Shot
- Timeline Playback
- Zooming In and Out of the Timeline
- Timeline Navigation
- Selecting Shots in the Timeline
- Working with Grades in the Timeline
- The Settings 1 Tab
- The Settings 2 Tab
- Editing Controls and Procedures
- Analyzing Signals Using the Video Scopes
- The Primary In Room
- The Secondaries Room
- What Is the Secondaries Room Used For?
- Where to Start in the Secondaries Room?
- The Enabled Button in the Secondaries Room
- Choosing a Region to Correct Using the HSL Qualifiers
- Controls in the Previews Tab
- Isolating a Region Using the Vignette Controls
- Adjusting the Inside and Outside of a Secondary Operation
- The Secondary Curves Explained
- Reset Controls in the Secondaries Room
- The Color FX Room
- The Primary Out Room
- Managing Corrections and Grades
- The Difference Between Corrections and Grades
- Saving and Using Corrections and Grades
- Managing Grades in the Timeline
- Using the Copy To Buttons in the Primary Rooms
- Using the Copy Grade and Paste Grade Memory Banks
- Setting a Beauty Grade in the Timeline
- Disabling All Grades
- Managing Grades in the Shots Browser
- Managing a Shot’s Corrections Using Multiple Rooms
- Keyframing
- The Geometry Room
- The Still Store
- The Render Queue
- Appendix A: Calibrating Your Monitor
- Appendix B: Keyboard Shortcuts in Color
- Appendix C: Using Multi-Touch Controls in Color
- Appendix D: Setting Up a Control Surface
The Still Store provides an interface with which to compare shots to one another while
you do scene-to-scene color correction.
Using the Still Store interface, you can save images from different shots in a project to
use as reference stills for comparison to shots you’re correcting to match. This is a common
operation in scene-to-scene color correction, when you’re balancing all the shots in a
scene to match the exposure and color of one another, so they all look as if they were
shot at the same place, at the same time.
Using the Still Store, you can save reference stills from any shot in your project, for
comparison to any other shot. This means if you’re working on a documentary where a
particular style of headshot is interspersed throughout the program, you can save a
reference still of the graded master headshot, and recall it for comparison to every other
headshot in the program.
This chapter covers the following:
• Saving Images to the Still Store (p. 381)
• Saving Still Store Images in Subdirectories (p. 383)
• Removing Images from the Still Store (p. 383)
• Recalling Images from the Still Store (p. 384)
• Customizing the Still Store View (p. 384)
Saving Images to the Still Store
To use the Still Store, you must first save one or more images for later recall.
To add an image to the Still Store
1 Move the playhead to a frame you want to save to the Still Store.
You should choose a graded image that contains the subjects you need to compare and
that is representative of the lighting and color you’re trying to match.
2 If the Still Store is currently turned on, turn it off to make sure you don’t accidentally save
a still of the currently displayed split screen.
381
The Still Store
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